Honky Château

by

Elton John

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This is my favorite Elton John album. It was also his first U.S. No. 1 album, and the first time he used his touring band of Nigel Olsson (drums), Dee Murray (guitar) and Davey Johnstone (bass) as a recording unit.

Along with lyricist Bernie Taupin, Elton presents a joyous--even fun--collection of songs. Even when the subject is suicide ("I Think I'm Going To Kill Myslef"), the music is upbeat. You have to love a song with a tap dance solo! [Favorite line: "If you want to save my life/Brigitte Bardot gotta come and see me every night."]

Of course there were the hits: "Honky Cat" and "Rocket Man." But each song bristles with energy, like "Hercules," "Amy" and "Susie (Dramas)." Of course, there are a handful of ballads, like "Salvation" and "Mona Lisas and Mad Hatters" just to mix things up a bit.

In addition, Elton tried some new things on this album. Electric violinist Jean-Luc Ponty is brought on board for a couple tracks ("Mellow" and "Amy"). And in addition to playing guitar, Davey Johnstone plays banjo on "Rocket Man" as well as mandolin on "Mona Lisa and Mad Hatters." And there are no drums on this latter track. The only bonus track is an absurdly fast version of "Slave."

While Elton would go on to have even bigger hits and better selling albums, this is the one I return to time and again. ESSENTIAL

Most paid critics have hailed this as Elton's finest album. They say it has more HOOKS, as if that were really all a great album needed. I can't place Honky Chateau in his pantheon of greats--and I'll explain why Tumbleweed Connection is a better choice. First, the good news: the best song here is "Rocket Man". Our ears may not hear it anymore, but this song shows how clever Elton was at infusing pop with classical elements (non-pop verse lengthening, chords you'll never hear from anyone else on the radio), but makes them sound totally organic. What a gift! "Honky Cat" is one of his most assured vocal/piano performances; after this and "Mellow", Elton would never again sing with such wild-yet-true abandon (maybe due to the ensuing production glitz). And, speaking of production, we gladly can't hear much of Paul Buckmaster's hand--he ruined many a great Elton song before and after with overreaching orchestrations. This may be the most tasteful Elton album as far as instrumentation/arrangements goes--wish they all had this as the model. It's a trade off with second-rate songs.

A word here about Mr. Taupin's words: those who revere "Honky Cat" and it's wry self-exposure need to hear about a dozen songs Mr. Ray Davies wrote on the subject (nearly all better than this lyric). The rustic/urban battle had been done before. I continue to smile and scratch the head at all the Taupin adulation out there. Elton was great IN SPITE OF HIM!

Critics also say that Elton's albums usually have a unifying "groove" to them. I agree, as Chateau has a Boogie-Woogie/Ragtime/Nawlins vibe. Soon he would tack on Bubblegum to that list for the Don't Shoot Me... album. So the critics like the wry wink of it all, I guess, but I much prefer the vibe of Tumbleweed Connection, which is Gospel/Delta Blues/Appalachian-American Roots. Tumbleweed also had a better band (even though they're a grab bag of sessionmen, but still better than Johnstone/Murray/Olsson). And, aside from the lovely "Mona Lisa...", much of the second half of Chateau is second-rate. "Hercules" was to become a better tune when heard as "Teacher I Need You" on Don't Shoot Me... And am I the only one who hears "Amy" as basically the same song as "Honky Cat?" Some of the piano licks are lifted note-for-note. Written in 5 days, a reviewer here says--well, when you start repeating yourself within the same album, it's time to work longer and come up with something new. This just can't be the finest album of Elton's, but Tumbleweed just may be.